APLOMB: Hikaru Kobayashi centre stage in the Rose Adage. APLOMB: Hikaru Kobayashi centre stage in the Rose Adage.
PYOTR Ilyich Tchaikovsky’s scores for his three 19th century ballets Swan Lake(Le lac des Cygnes) The Sleeping Beauty(La Belle au Bois Dormant) and The Nutcracker(Casse Noisette) are, arguably, the most popular of all ballet music. Not only that, the ballets themselves rank high on lists of best loved visual delights.
Ask any young women taking ballet lessons “what would you like to dance one day?” With big eyes the likely reply will be, “Oh! either Swan Queen, or Aurora or the Sugar Plum Fairy.” One or two may prefer malevolent Odile, or gracious Lilac Fairy or icy Snow Queen, but the odds are the little girl is already seeing herself, bedecked in gorgeous tutu, glittering tiara, dancing the main role in one of those ballets.
Ask the same question to a young man. He’ll probably prefer the wicked Von Rothbart, the evil Carabosse, Rat King or even Drosselmeyer - mysterious patch-eyed magician-like figure in The Nutcracker.
Only later will he aim for stately handsome princely roles. But whatever their goals, its dancing in one of those three great classical ballets that sets children’s ballet ambitions alight. As well as keeping them motivated through years of hard training to in time (hopefully) attaining their dream.
Therein rests huge responsibility for ballet companies to produce these historic ballets to the very highest possible standards. There is no place for sloppiness of any sort if traditional values are to continue to inspire.
Based on the Brothers Grimm’s version of Charles Perrault’s fairy tale Dornroschen – with additional fairy tale characters - credit for devising The Sleeping Beauty’s original scenario goes to Ivan Vsevolozhsky (Director of Imperial Theatres in St Petersburg).
He then approached Tchaikovsky, and although disappointed Swan Lake had not (at that time), been overwhelmingly successful, Tchaikovsky, enthusiastically, accepted the commission. Given specific details from choreographer Marius Petipa as to how many bars he required for each section, as La Belle au Bois Dormant, the ballet premiered at Maryinsky Theatre, St Petersburg on January 15 1890.
Mime plays significantly as, over the three acts the story focusses on conflict between good - Lilac Fairy (Kim Vieira) and evil - Carabosse (Johnny Bovang in drag). The fourth, a series of divertissement, is devoted to fairy tale characters celebrating Aurora’s (Hikaru Kobayashi) wedding to Prince Florimund (David Moore).
Down the years, many choreographers, have elected to choreograph their own versions. Yet, Petipa’s choreography for Aurora’s Rose Adage, pas seul and grande wedding pas deux, have (virtually) remained unchanged for 114 years.
Following such time-honoured choreography is what made it possible for Kobayashi and Moore to come together at “a moments notice,” and, coached briefly in London by Kobayashi’s husband Federico Bonelli - produce a thoroughly splendid performance. Despite never previously partnering each other, this physically well-matched couple, danced in perfect harmony.
Their lines balanced, and they performed those three tricky “en de dans pirouettes into fish” movements so smoothly, the audience failed to grasp the intricacies of what they were seeing.
Kobayashi, has blossomed since her last guest appearance. Costumed in exquisite tutus she is so light, technically sound, and used her expressive eyes to present a joyous performance of the 16 year old Aurora.
The numerous balances and promenades in attitude derriere she performs with her suitors are appallingly demanding
Yet Kobayashi showed no strain - except occasionally losing her smile and having her petiteness marred by her suitors singularly overpowering, unflattering (almost ludicrous) headgear.
Subtly using “preparations” to give movement light and shade Kobayashi’s quietly subdued vision scene and her radiance in the wedding scene demonstrated why she is Royal Ballet’s First Soloist.
A prince’s role is, often presented as a necessary “hoist” appendage to his ballerina. Not this time. Moore, blessed by a commanding presence, an impeccable technique, easy ballon (bounce), controlled pirouettes, exceptionally neat footwork and excellent partnering skills, brought to Prince Florimund (sometimes called Prince Desire) a charming, youthful, exuberance.
His underlying impishness models Britain’s Prince Harry - royal to his fingertips, but a young man touched with humour. Strangely, in a city where standing ovations are “ten a penny” and regularly given at mediocre performances, it seemed extraordinary that, on Friday night, the audience didn’t recognise the finer points of Kobayashi and Moore’s partnership.
In her Lilac Fairy pas seul Kim Vieira’s musicality tied in with beautiful sweeping undulating port de bras projecting a sense of goodness and authority. Her mime, disdainfully tossed head and single dismissive wave, clearly thwarted evil Carabosse’s plan to let a spindle cause Aurora’s death.
A mere four rats scurrying about in choreography better designed for a children’s playground, rather detracted from Carabosse’s malicious intent. Thus, lacking devilish entourage support Bovang bent towards exaggerated gestures as well as flourishing his cloak too often.
Meghan Henegan as Enchanted Fairy; Angela Hansford as Woodland Glade Fairy; Elizabeth Nienaber as Songbird and Rosamund Ford as Golden Vine Fairy each performed their variations - involving complex en arriere couru, springing runs and hops sur les pointes – with remarkable aplomb.
It’s always a pleasure to see young up-and-coming dancers fill positions in the corps de ballet. While some additional rehearsing would have benefited straighter lines and greater cohesion (particularly among the male corps), Elizabeth Triegaardt’s production represented suitably dignified youthfulness.
In aiding this, CTCB’s dancers were fortunate to have Brandon Phillips in the orchestra pit (why the disturbing safety net?) conducting the Cape Philharmonic Orchestra.
In the year since Phillips began conducting ballet performances he has come a long way able to simultaneously bring out, the best from orchestra members, and gain dancers confidence by his steady tempi.
Although sets are showing signs of age and scenery parts were missed during the vision forest scene, complements go to staff members that Peter Cazalet’s original costumes and sets are still operational. Credit too to Faheem Bardien’s lighting plot creating suitable atmospheres.
l For alternate casting see: cape towncityballet.org.za. Book: 021 421 7696, 0861 915 8000